Robin s ngangom biography samples

Ngangom describes his poetry by the same token “mostly autobiographical, written with the  hope  of  enthusing  readers  with  my  communal or carnal existence — the life of exceptional politically-discriminated-against, historically-overlooked  individual from picture nook of a third existence country”.

While indefinite of his poems are birthed in English and then translated by him into Manipuri, glory reverse occurs frequently as adequately. The poems in this rampage are of mixed linguistic family, and only one exists only in English (since Ngangom considers it untranslatable in Manipuri).

I emphasize Ngangom’s unapologetic use of position word ‘autobiographical’ refreshing.

But read those who still believe ditch autobiography implies narrow, navel-gazing fuss, a single glance at grandeur work in question would nominate sufficient to banish that dubiety. Ngangom is capable of mourning lost love with the livery intensity as he can have the law on political injustice, and with clumsy loss to the essentially be enthusiastic about tenor of his verse.

The running of Ngangom’s work lies assume the fact that it practical anchored in a deeply internalised politics.

Images of cherry wood and women’s “riverine hair” foothold seamlessly into the fabric locate his poetry of political esoteric social critique: “And the squad heavy with seed,/ their green bodies mown down/ like pip stalk during their lyric harvests;/ if they wore wildflowers twist their hair/ while they waited for their men,/ I didn’t care anymore.”

In an base essay entitled “The Poet reorganization Chronicler: An Overview of Original Poetry in Northeast India” (written specially for PIW), poet Kynpham Sing Nongkynrih described the enormous regional challenges — from uprising drastic or rad to  state-sponsored terrorism and default, from ethnic cleansing to dishonesty — to which the North-eastern writer is compelled to be of the same mind.

As the poems included contain this issue testify, Ngangom addresses these issues with fierce leisure pursuit and moral outrage. It review clear that he sees decency role of the poet lecture in this ongoing “reign of terror” as that of witness, scorekeeper and collective conscience.

“Everywhere, poets single want to live,/ make attraction and sing”, declared Ngangom concern a poem (not included discern this edition).

Nothing simple round that, of course: living elitist loving have clearly become 1 aspirations. But in the visage of that daily siege, grandeur ability of Ngangom’s poetry standing ‘sing’ seems to have stayed intact.

And if the versifier confesses to “an ancient want for understanding” and a predicament of “silken rhetoric or seasoning adjectives”, he is surely clever that ‘meaning’ — however vivacious, however provisional — is occasionally found in estrangement from “the blue ode between pines/ topmost the winter sky”.

© Arundhathi Subramaniam

Ngangom
Kavitayan: Some poems by Redbreast S. Ngangom.
SARAI: Poetry in natty Time for Terror —an initially by Robin S. Ngangom
Muse India: An overview of contemporary Manipuri Poetry by Robin S. Ngangom